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Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. Eugene in Metrocity fashion show. Actress singer presenter. Romantic Island OST. Unstoppable Marriage. Save the Last Dance for Me. Stuart: And I' ve got to go to the audience in a bit, but just before we do that, when you look back, and you were talking there about the period, do you ever look back, " Je Ne Regret Rien" the song says, do you ever look back and say, " I regret," is there something you' d change?
Mary: The regret that I would have is that I wasn' t as wise as I am now. But, you know, when you' re young, you' re foolish, you' re young, you' re foolish, and I was certainly that.
But I enjoyed my life a lot. And I think that had I been a bit wiser, I would have made a few different choices. But, you know, just things like that. But I don' t have what you might call real regrets.
I may have made some silly stupid mistakes along the way, but I don' t really have any major regrets, so, I' m very, very happy about that. Of course, here, we were inducted into the Rock ' n' Roll Hall of Fame. Stand up, let everybody see you. Mary: Howard came to my house and looked at all my boxes and trunks with the gowns, so, he was the first person who actually saw them, while they were - yeah, right. So, thank God, I did that. So, this was a great moment here. The only sad moment about this was that I was the only one there, Diane wasn' t there, Florence wasn' t there, so, it was one of those hollow kind of moments of just - I was thoroughly happy, but I was sharing with just myself, and I wanted to so much share it with the other ladies, our success, you know, say that our dreams really did come true.
We have a star in Hollywood Boulevard, if you ever get to Hollywood, go down La Braer and Rodale, you can walk all over us. And so, that' s it. Stuart: That' s the story, it' s a great story, as well. Ladies and gentlemen, Mary Wilson. We' re going to come to questions. Stuart: Mary has to rush in ten minutes, she' s going to do the Jools Holland Show, so, at last, you get some licence fee value. It' s going to be recorded on the telly.
Questions, gentleman there and then there, please. Question: Hi, Mary. Could I just ask you about Jean Tyrell? Jean Tyrell was brought in after Diana Ross left the group, and my understanding is that she left because she became very dissatisfied with the way that Motown was treating The Supremes.
Why do you think Motown did change its attitude towards The Supremes in the 70s? And why did the group eventually disband? Mary: I don' t really, really know, but Jean wasn' t the only dissatisfied, we all were dissatisfied. It just so happens that they could walk away, Jean and Linda could walk away, because they didn' t have a stake in the group the way I had a stake in it. So, even though I was unhappy about the treatment we were receiving at the time, I couldn' t walk away and leave them in The Supremes, I would not do that, and they did walk away and leave.
And that' s one of the reasons why, many times, I' m unhappy when they come back and take over the group and tour as The Supremes, because they actually left it and did not help it, so, I' m not very happy about that, and I will never be happy about that.
I hope that God will help me to get over it, but it' s something that I just feel very, very bad about. Motown, for some reason, at the time that Stuart was talking about, was making that move and things were changing, and they just weren' t interested in us. And they probably didn' t have the belief.
Jean is a great singer, she did a great job, she gave us some of our greatest songs. And it should have, you know, worked, with her doing it. It wasn' t her fault, it was just the machinery was not behind us. Question: I' d just like to say, thank you, Mary.
I' ve followed you for many, many years in your solo career, and the last time I saw you was last summer, in Lake Taho. Question: And I' m sure, as many people here do, through good times and bad times, The Supremes have always been there for me, thank you.
Question: But, as this gentleman was saying, I' ve got the whole collection, but technically, I think the combination of Cindy Birdsong and Jean Tyrell and yourself are definitely the best, technically, Supremes, to see. Mary: Oh, thank you. Well, I appreciate that. My take on that - because a lot of people want to hear how I felt about that group - I loved all of us, but each one was different.
And I want people to be very clear of why I defend the original group against the 70s group, because we made the history.
In the 70s, we were great, but we were another group. Stuart: There' s a gentleman here who has a question. Yes, sir, with the blue shirt on here. Can we take a microphone here? It' s just passing over. Yes, sir. Question: I was wondering whether or not there would ever be a chance that you and Diana would get back together for a reunion tour.
Mary: Well, certainly, there' s an opportunity, but, you know, Diana' s got to want to do that and, at the present time, she really doesn' t want to do it. So, you know, I' m of the thinking that it' s best, if she doesn' t want to do it, we can' t do it unless we all want to do it.
Mary: Oh sure, I mean, I think there' s a chance, and I' ll be there to do it, you know, yeah, but she' s got to want to do it. I can' t make her, no one can make her, until she gets ready. Mary: Yes, I have a new CD that' s due out later this year, and it' s with the company of the Holland brothers, and their company is producing me.
In fact, we' re speaking to a company here, Vibrant, here, in the UK, that may be the company to release it here. Stuart: I' m sure there' ll be a lot of people want to buy it. Just right behind you, sir, there' s a gentleman there. Question: I didn' t get to it, I' m so sorry, I didn' t get to it.
Hopefully, maybe, next time you' re back. I wasn' t living in the city at the time. But I just want to say, I' ve been a fan since the 60s, and I can remember being a little white boy in Gary, Indiana, buying your album, and I had to put the cover down because the other white people would look at me, and how much that changed my life. Question: Yes, the Jackson 5. I didn' t know them. I was just wondering, I loved the exhibit, it was beautiful, I wonder, do you think Diana Ross will get a chance to see it when she' s here, supposedly?
Mary: Well, I mean, certainly, she may be, because she' s going to be working in Liverpool, I understand, and I' m sure she' ll sneak in. She' ll probably have her big glasses and a wig. Stuart: Yes, there' s a gentleman over here in the blue shirt.
Question: No, a much more shallow question. The show' s all about your clothes, and I' d like you to tell us about your favourite outfit you' ve ever worn. Stuart: Yes, Mary Wilson, we' d like to know, throughout the whole period of your singing stardom, the one outfit that you love.
Mary: Oh, you know, it changes all the time, it really does. So, in fact, they' ve always been some of my favourite gowns, because they weigh maybe 35 pounds each, and they' re all heavily beaded with rhinestone pearls, you know, So, they' re like the top.
Stuart: The very nice one there, the last one we saw. I like the dress you' re nearly wearing. Now, look, Mary, we' ve got to get a bit serious here. If you were to move into another genre of music, would you have liked to have actually pursued a different - let' s go back, this idea that you started this session today singing an aria, singing an opera, would you like to have done classical music or opera or some other form of non-popular music?
Mary: [sings] " No complaints, no regrets, I still believe in chasing dreams, and placing bets. But I have learned that all you give is all you get, so give it all you got.
I' ve had my share, and I drank my fill, and even though I' m satisfied, I' m hungry still" - I can' t get that off - " to see what' s down another road, beyond the hill, and do it all again. So, here' s to life, and every joy it brings. So, here' s to life, to dreamers and their dreams. Funny how the time just flies, a love can go from warm hellos to sad goodbyes, and leave you with the memories you' ve left behind, to keep your winters warm.
For there' s no yes in yesterday, and who knows what tomorrow brings, what takes away, as long as I' m still in the game, I want to play, the last, the life, the love. May all your storms be weathered, and all, all that' s good get better.
Here' s to life, here' s to love, here' s to you. Stuart: You' ve got to go, babe. Lovely to see you. Take care, all the best.
Thoroughly enjoyed it. Stuart: All the best. And we' ll see you later. Take care, honey. All the best, all the best, yeah, cheers. Mary Wilson: I think that we wanted - we being The Supremes - we wanted to - make a difference for our race you know. We wanted to - every time we' d go up there - we wanted to be viewed as not only good people but let people see that black people weren' t what they were saying we were - you know.
And that we were beautiful and that we were successful. That' s why people like Mrs Maxine Powell was very important to us because when we went to Artist Development at Motown - you know - we were very interested in the classes. We didn' t try to cut the classes - we wanted to make sure we were in the class, you know. Maxine Powell: All my life I was thinking of things that would help my race become outstanding and I thought of class and style - and refinement was two things that would be accepted around the world.
Mary Wilson: So going out and travelling all over the world - it was always important for us to - make sure that our blackness was known and that we held ourselves in such a way whereas - you know - we felt as good as the next person.
Maxine Powell: And I know today that to look chic, stunning, elegant and smart can be learnt. And then there' s certain colours that make you glow. So you learn that. And then they always looked good. And then they wanted to do something different. They wanted to glitter. Mary Wilson: When we first started singing as the Primettes, we never wore make-up, well I think the most we did was maybe smudge some eyeliner round the eyes and I always more Maybelline mascara.
The reason for wigs is because the wear and tear on your own hair. Especially travelling to different countries - it was horrible and until they had black lines - you see there was a time when - there was not - not even - make-up for black faces, you know, and so by the same token, there was not -the relaxing or the - perms that you could do on your hair.
When Black is Beautiful became in - well then of course we started doing the natural and - at that point - I had the biggest natural - but it was my own hair - it wasn' t a - you know - a wig. So, you know, as time changes as trends change, you know, we have - changed as well. Maxine Powell: And they were doing the Shake, a dance called the Shake and I said - what are you doing?
Oh, we' re doing - they were just like the youngsters of today - oh we' re doing the - a dance, I don' t know if you know about it - and I said - yeah, I know about the Shake. And I showed them how it should be done. With the buttocks tucked under, smiling and shaken to the floor, you see. And then coming up and then going into something classy, and smiling and gleaming and whatnot. So they learned how to do those things. Mary Wilson: But I think The Supremes became the most popular female group around the world internationally because we did start a trend.
And we were used as the model, and I mean even today, I would say that - you know - people would look at The Supremes' image and, you know, some will say well we choose to be that, some people say no, but I think that we did set that model. And it was because we were different - we were - we were not only three pretty girls - you know - like I know the Ronettes were pretty girls too - you know - but we had the style, we had the class, we had the look, we had the sound.
It was almost like we embodied the total thing of perfection for women and I think that' s why we stood out, because we had that - we just set a trend. We were like the first. Trevor: Well. The Supremes legacy really was the way they changed the face of pop music, particularly for female artists, in that, yeah, we had solo artists, we had a lot of male doo wop groups that were successful, a lot of male bands were successful, but for female artists to have that kind of consistency, they took a lot of nurturing and a lot of discipline and you know it was like female groups started emerging and were put through a boot camp almost.
In those days The Supremes would have been churning out performance after performance day after day when they were promoting records. Also, Motown churned records out a lot more then than record companies do today.
You know it always had ten hits in the charts at the same time. So the pressure was on, it was hard work and hard graft. I mean you work a record now you work it round the world, you send a video out, the video gets played in every country before they even hear you perform. That could never have happened back then. Sure you could have a hit record but you had to cut it live to have longevity. They could probably perform in a hotel ballroom and not stay in that hotel, you know and that' s something.
You' ve got to take your hat off to them. The word ' success' in America were always associated to white, not black. You know if somebody was successful in America they were normally white so to have three black girls who were very young become the biggest selling female artists in the world must have given a lot of hope, particularly to aspiring singers, but to every black girl in the projects, in the ghettos, you know because that' s essentially where these girls came from.
I don't think it's fair to say anybody can really carry the spirit of The Supremes. I think that would be doing The Supremes a bit of an injustice. In the UK, for example, you see the Sugababes. Three girls, don't move too much I'm not saying they sound like The Supremes, but if The Supremes didn't exist would a record company believe that they could put three girls together like that, not moving too much.
I don't think there's anyone vocally whose got that catalogue of songs that I could even put in the same sentence as The Supremes.
You're not looking at The Spice Girls, are you?! Trevor Nelson, radio and television broadcaster, reflects on The Supremes' influence at the time, their significance now and their legacy to popular music. I need the love my dear, I miss so much… The exhibition had at its heart the dresses and costumes worn by the most successful girl pop group ever: The Supremes.
The costumes in the Exhibition show how The Supremes' image was created and how it was the changing face of American society in the s. The show was put together by Geoffrey Marsh and Victoria Broackes. The Supremes represented a sort of counterpoint to the political activism of the time because they represented beauty, elegance, style, and above all, success. The core of the exhibition is in fact the fashions and the collection here is Mary Wilson's own collection of dresses and we have about 50 dresses in the exhibition.
The beaded dresses that you see on the revolve were the dresses they wore to meet the Queen Mother in and every bead was sewn on by hand and they weigh 35 lbs each. And this case where you see a cascade of records is about how they found success in when they released 'Where did our love go?
But from then on they had five hits in a row and that's a record, I think, to this day. From then they went on to represent success on an international stage and there's a poster at the back of the case which shows them opening the Lincoln Centre in And a very early example of product endorsement down at the bottom in the shape of the Supremes bread where you see them on the cover of the bread. The recording desk which we've tried to recreate with an example of how the studio looked behind and so on, is where we talk a bit about the Motown technology which was, at the time, amongst most advanced in the world.
There was only united western in LA and Abbey road where the Beatles recorded that could compete with them at all and even those not in the terms of numbers of hits. On the desk we have an original version of "Babylove". He said he wanted their second hit to sound just like the first. And that's when they added the foot stomps and the hand claps. Cause babylove, my babylove, been missin' ya…. We wanted to bring film into the exhibition where we could to show how things looked at the time.
She ran the Motown charm school which was a bit like the Hollywood star factories of the 's and 50's. She taught the Supremes how to… how to sit, how to be interviewed, as she says on the film, 'how to meet kings and queens. How not to protrude the buttocks. How to roll under. And if they didn't know the step, then smile and not act tough about it. And it's not just… it's not that they were the first girl group or the best girl group, it's the fact that following their success one can see just how incredibly successful a girl group could be.
And The Supremes have proved that a girl group can last ten years or more at the very top. Hung Medien. June 1, Rolling Stone. Slant Magazine. Retrieved February 26, November 15, Archived from the original on July 7, Retrieved February 25, Irish Recorded Music Association.
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Hand on your balls Lighting up drugs always fightin' in the club I'm the reason they made the dress code They figure I wouldn't wild when I'm in my french clothes Dress as I suppose, from my neck to my toes Neck full of gold, baguettes in my Rolls Wreck shows, collect those, extra O's Buy the E, get a key, to the Lex to hold East, West, every state, come on, bury the hate Millions, the only thing we in a hurry to make Are the friend that act's friend in a Lex or a Benz Let's begin, bring this BS to an end Come on.Get the hottest music, news and videos delivered directly to your Inbox. Leave this field empty if you're human.